doctor who series 12 episode seven can you hear me...
TRANSCRIPT
DOCTOR WHO
SERIES 12
EPISODE SEVEN
CAN YOU HEAR ME?
PROGRAMME NUMBER: DRAA740R/01
10:00:00 BBC WORLDWIDE STING
10:00:05 EXT. DISTANT GALAXY
RAKAYA
Can you hear me?
10:00:13 EXT. ALEPPO – EVENING
10:00:13 Music in ‘M1 Let Me Back In’
DMP: The sun is setting over the beautiful ancient city of Aleppo.
It is a breath taking sight.
CAPTION: ALEPPO, SYRIA, 1380.
We move down from the overhead view, down into the lanes and alleys
and the gorgeous architecture, down the exterior wall of a building,
and land with a girl running amongst the markets - slamming against
a beautiful panelled door, and rapping on it!--
CUT TO:
10:00:21 INT. DOORWAY ENTRANCE/ALEPPO – EVENING
MARKET SELLER
Thief!
TAP-TAP-TAP-TAP-TAP! Secret, urgent rap on the door. A panel opens
it and NURSE MARYAM (pronounced MARRY-AM, 30s), wearing a simple
tunic, looks from the other side.
TAHIRA
Let me back in!
MARYAM
How did you get out there?!
TAHIRA
Seeing a friend.
An unseen voice yells from the distance --
MARKET SELLER
I’ll chop off your hand!
TAHIRA
(looks back anxiously)
I say friend, we're not that close.
Please let me back in! Please let me
back in fast?!
She flashes a big wild smile -- Maryam relents and opens the door
-- Tahira spills through the door --
TAHIRA (CONT'D)
Thank you.
CUT TO:
10:00:42 INT./EXT. BIMARISTAN/PASSAGEWAY/OCTAGONAL COURTYARD -
EVENING
Long, vaulted passageway with individual cells with latticed doors,
on either side. The passageway leads out on to an octagonal
courtyard. TAHIRA and MARYAM walk towards it. As they walk and talk,
there are another 10-15 patients milling about. Calm atmosphere.
MARYAM
You can't keep stealing from
merchants in the souk. They know
where you're from.
(Beat)
You tell me creating happiness is
important to my mental wellbeing. A
game like this makes me happy.
Now they're into the beautiful dusk-lit courtyard: Pale terracotta
stone octagonal courtyard adorned by lots of flowers and plants,
a water feature at the centre.
MARYAM
(looking up)
Time to go back in your room. It'll
be dark soon.
And now Tahira's mood changes -- as she realises.
TAHIRA
Have you taken precautions. Have you
told everyone?
MARYAM
Tahira.
TAHIRA
We have to keep everyone safe.
MARYAM
Nothing is going to happen, Tahira.
TAHIRA
Of course it is.
(Beat)
I told you to tell them. I told the
doctors. I told all of you. They're
real.
MARYAM
I understand they seem real to you.
You just need to rest: sleep will
help.
TAHIRA
Sleep is when they'll come. I can feel
them coming. They'll be here tonight.
(Beat)
MARYAM
Rest well, Tahira.
On Maryam: reassuring smile. She's not going to listen.
We close in on Tahira. The worry is etched on her face.
CUT TO:
10:01:31 EXT. BIMARISTAN/OCTAGONAL COURTYARD - NIGHT
Moonlight. The camera tracks forward into the courtyard. Lanterns
of light cast geometrical patterns on the floor.
CUT TO:
10:01:37 INT. BIMARISTAN/CELL - NIGHT
TAHIRA in the doorway of her room. We move on in to her face.
TAHIRA
Maryam! Maryam!
MARYAM
Over here.
TAHIRA
I told you to lock the doors.
MARYAM
We don't do that.
TAHIRA
Get everyone out. They’re here.
The fountain slows -- and stops. The sound of this world cuts out
to almost nothing. Tahira looks to Nurse Maryam beseechingly --
tight on Tahira's face --
And as she says this, a long limb, with a clawed hand and matted
fur snakes around Maryam's face -- and covers her mouth --
The sound of a wolfish beast mixed with a rattlesnake --
Maryam freezes mid-sentence. Her eyes widen in horror -- and Tahira
opposite her can't move, is frozen. So quiet.
TAHIRA (CONT'D)
I tried to warn you. Don't struggle.
They like it more when you struggle.
On Tahira's face as there's whoosh of wind and a BLUR of motion
as the Chagaska has snatched Maryam and is gone. Maryam's screams
echo down the corridor -- we close in on Tahira.
Tahira looks at the space where Maryam was. Tahira starts backing
into her room.
ANGLE ON: the camera moves low through the courtyard. Flashes of
shapes, contorted shadows, flickers of lights. There is the sound
of people running, things crashing, people screaming, the roars
of animals, things smashing.
And we're back on Tahira, so haunted and wide-eyed. She has seen
the horrors. She stands still, looking back towards the doorway.
And move in on her from another POV. As we move in, we can hear
alien animalistic footsteps, breath, movement, padding towards
her. We realise this is the Chagaska POV. It stops, right in front
of Tahira, as she stares fearfully.
PROFILE SHOT: Tahira takes up half the frame as -- a terrifying
creature leans in to her! Tahira face to face with a CHAGASKA. Its
face is a few inches from her. Its mouth opens -- there are legions
of teeth. She is terrified. It looks her directly in the eyes --
a shot like the Alien Queen and Ripley, both their faces taking
up the whole of the frame. The terrifying layers of teeth and extra
jaws inside the Chagaska's mouth. This is truly the stuff of
nightmares --
Hold on Tahira's terror --
10:02:40 Music out ‘M1 Let Me Back In’
CUT TO:
10:02:40 OPENING TITLES
10:02:40 Music in ‘M2 Opening Titles’
10:02:47 Caption 'Jodie Whittaker'
10:02:49 Caption 'Bradley Walsh'
10:02:50 Caption ‘Mandip Gill’
10:02:52 Caption ‘Tosin Cole’
10:02:55 Caption 'BBC Doctor Who'
10:03:02 Caption 'Producer Alex Mercer’
10:03:04 Caption 'Director Emma Sullivan’
10:03:09 Caption ‘Can You Hear Me?’ Written by Charlene James
and Chris Chibnall
10:03:14 Music out ‘M2 Opening Titles’
CUT TO:
10:03:14 EXT. SHEFFIELD – DAY
10:03:14 Music in ‘M3 Peace and Quiet’
Overlooking Sheffield by day. Drawing into the city to
see the TARDIS materialising in the middle of the
street.
CUT TO:
10:03:26 INT. TARDIS - DAY
RYAN and GRAHAM are by the door, as YAZ pursues THE DOCTOR round
the console. As this happens, Ryan's phone pings away --
THE DOCTOR
Here we are – Sheffield!
YAZ KHAN
Is it the right day?
THE DOCTOR
It's the right day --
YAZ KHAN
In the right year.
THE DOCTOR
The day you asked in the year you
asked, at the time you asked. You're
home. Everyone meet back here.
Tomorrow lunch time.
RYAN SINCLAIR
What you gonna do?
THE DOCTOR
(literally has no idea)
Me? Ohh, very busy. Very busy indeed.
Maintenance. Correspondence.
Correspondence about maintenance.
(console beeps)
OK. Not exact right time. 77 minutes
out. Late.
YAZ KHAN
(alarmed)
What!
And she's gone -- and the lads head on after her --
GRAHAM O'BRIEN
Sure you'll be alright on your own?
THE DOCTOR
Finally get some peace and quiet.
Graham smiles and goes.
Beat. WIDE: the Doctor alone in the TARDIS. Not sure what to do.
THE DOCTOR (CONT'D)
Um. Err...
(Beat)
I could always -- .... --- nah.
She stands still. Lonely Doctor without the fam.
THE DOCTOR (CONT'D)
Maybe I'll just nip straight to
tomorrow lunchtime –
WHOOMPH! All of the lights go out on the TARDIS! Power down. Mist
and smoke -- vestigial emergency lighting turns the TARDIS into
an ominous space of silhouettes and shapes and greyness. Like
colour has been drained.
THE DOCTOR (CONT'D)
What was that?
And an animalistic HOWL echoes through -- The Doctor spins, looking
around -- nothing there -- freaked out --
And as she does, behind her, in the doorway, the bald tattooed head
of a man GHOST-GLITCHES IN FOR A SECOND -- stare-smiling, a
terrifying fast image -- there, briefly and gone --
Before the TARDIS powers up again. Back to its warm lovely self.
She's freaked. It's not OK. An alert -- checks the screens.
THE DOCTOR (CONT'D)
The location for that noise -
Aleppo?!
(checks watch)
I've got time.
Pre-lap sound of a doorbell.
CUT TO:
10:04:42 EXT. PARK HILL FLATS - DAY
Establisher of the block of flats where Yaz's family lives.
CUT TO:
10:04:45 INT. YAZ'S FLAT - DAY
SONYA at the table, laid for two, checks her phone impatiently --
as the door slams. WHIP-PAN to the door -- YAZ!
YAZ KHAN
Soory, sorry! Am I late? It is the
right day isn't it? Have you been
waiting long? Am I really late?
SONYA
Yes, yes, yes and yes. Mum and Dad
left hours ago. Whitby for the night.
YAZ KHAN
(incredulous)
Did you cook? Can you cook now?
And Sonya hugs Yaz. Yaz surprised for a sec. Then hugs her back.
SONYA
Hey loser.
YAZ KHAN
Hey no mark.
CUT TO:
10:05:12 INT. TIBO'S FLAT, SHEFFIELD/HALLWAY - AFTERNOON
POV: Through a FISH EYE LENS peep hole: RYAN.
The sound of locks and bolts being undone. A door opens and we see
Ryan properly, a smile on his face.
Ryan's POV: TIBO, surprised to see Ryan at his door. He's not quite
as cheery as we saw him in ep 1. Finds it harder to keep eye contact.
There's a disconnect between their energies.
TIBO
What you doing here, man?
RYAN SINCLAIR
Got your messages, didn't I.
TIBO
It's been months.
RYAN SINCLAIR
Phone's been playing up.
TIBO
So are you back?
RYAN SINCLAIR
Yeah. Sort of. Not really. Few hours.
(holds up a bag)
I bought chips. You gonna let me in
or what?
TIBO
It's not a good time.
RYAN SINCLAIR
I got chips, though.
Tibo lets him in, reluctantly. Ryan steps inside. Close in on Tibo
locking the door with three heavy duty locks and bolts.
On Ryan -- OK, that's weird.
CUT TO:
10:05:58 INT./INT. GABRIEL'S FLAT/THE ORB - NIGHT
GRAHAM round a table with two of his old bus driver mates from the
depot (including GABRIEL, whose wife was out on the town in ep 1,
and FRED, 50s). They're playing cards, matchsticks for chips,
having a hoot, old mates --
GRAHAM O'BRIEN
(lays his cards down)
And that gentlemen, is a full house!
GABRIEL
What?!
GRAHAM O'BRIEN
I been practising. On my travels.
(as he gathers up and
re-deals)
Nice to see you lads. Although it
doesn't sound like I've been missing
much.
GABRIEL
Nothing at all. I'd rather be on
cruises, like you.
GRAHAM O'BRIEN
Oh yeah, they're lovely, the boats.
Very calm.
FRED
And how's your health, now, Gray?
Alright?
GRAHAM O'BRIEN
Yeah, it's good, it's good.
GABRIEL
And you're coping. Without Grace.
GRAHAM O'BRIEN
Have to, don't I. Traveling helps.
Means I don't get stuck in the past.
CUT TO:
10:06:31 EXT. BIMARISTAN/OCTAGONAL COURTYARD - NIGHT
The TARDIS materialises in the now deserted octagonal courtyard.
The door to the TARDIS opens and THE DOCTOR steps out.
Looks round at her new surroundings. Broken and upturned plant pots.
Crushed flowers. Debris. A battle here.
THE DOCTOR
Aleppo, 1380. Welcome to Syria. Now-
(turns to the others)
Oh, not here, are they.
She sees a plaque on the wall with the inscription: BIMARISTAN
ARGHUN AL-KAMILI.
THE DOCTOR (CONT'D)
Bimaristan. Means 'sick place'. Must
be one of the oldest hospitals in the
world. Course, Islamic physicians
were known for the enlightened way
they treated people with mental
health problems. What happened here?
You guys go this way --
(turns; stops; irritated)
Who'm I meant to share the
interesting stuff with?!
And then a voice --
TAHIRA (O.S.)
Is someone there?
The Doctor heads in the direction of the voice, calling out --
THE DOCTOR
Friendly visitors -- visitor.
Where are you? I am coming to say
hello!
CUT TO:
10:07:22 INT. BIMARISTAN/PASSAGEWAY/CELL - NIGHT
THE DOCTOR walks cautiously down the passageway. Notes scratch
marks on the wall. Keeps on walking.
THE DOCTOR
I'm the Doctor.
And now there's sobbing/crying from ahead. She walks towards a
doorway in the wall -- inside there's a cell. She looks in, keeping
an eye all round -- it's dark -- there's a FIGURE in the corner
--
THE DOCTOR (CONT'D)
I've here to help.
CUT TO:
10:07:31 INT. BIMARISTAN/CELL - NIGHT - CONTINUOUS
THE DOCTOR enters the cell carefully. It's dark. TAHIRA is huddled,
bunched up in a corner of the cell. The Doctor goes over to her,
kneels by her --
TAHIRA
Stay away --
THE DOCTOR
It's alright, you're safe, I promise
--
TAHIRA
No -- they took everyone --
THE DOCTOR
What happened here?
TAHIRA
(so wide-eyed)
You have to get out --
THE DOCTOR
Why?
TAHIRA
(terrified)
Because there's one still here.
She looks up to the ceiling. The Doctor follows her gaze --
THERE'S A CHAGASKA SPREAD ACROSS THE CEILING!
Bang! It drops down and ROARS at the Doctor!
The Chagaska magnificent in front of the Doctor -- sniffs the
Doctor -- so close in on her -- face to face close --
Tahira tense, watching, can't bear it -- but the Doctor is
preternaturally calm and curious --
THE DOCTOR
What are you?
TAHIRA
Leave her alone!
And -- whoomph! -- the Chagaska DARTS out the cell door --
THE DOCTOR (CONT'D)
(to Tahira)
Stay here --
The Doctor follows -- into the passageway --
CUT TO:
10:08:06 INT. BIMARISTAN/PASSAGEWAY - NIGHT
THE DOCTOR looks down the passageway --
Nothing. Spins -- checks the other way. Also nothing.
THE DOCTOR
Gone! That was fast!
(sonics the air)
Nothing. Nothing at all.
Close in on the Doctor.
10:08:21 Music out ‘M3 Peace and Quiet’
CUT TO:
10:08:21 INT./INT. GABRIEL'S FLAT/THE ORB – NIGHT
10:08:21 Music in ‘M4 The Bloke’
GRAHAM O'BRIEN
Right lads, ready? Here we go?
He deals out some cards -- as he does, the sound drops out, we're
in on Graham -- a high whine replaces the sound --
He blinks. Bit woozy. We close slowly in on Graham.
FLASH IMAGE: the two planets colliding.
Back on Graham -- shaken. He's just had a vision.
FLASH IMAGE: the planets becoming two eyes.
Again back to Graham -- freaked out by this! He's dealing cards,
his mates watching on, but he feels like (and we see it as if) he's
dealing in slow motion --
FLASH IMAGE: the face of the WOMAN in the orb. Her POV: the
atmosphere within it. Smoke and light and heat. The sound: the
constant rumbling.
RAKAYA
Can you see?
Intercut back to Graham. His eyes widen.
Back to the orb: the face of the woman clear. Staring ahead. Her
face tear-stained.
WHOOMPH. GRAHAM IS IN THE ORB. Surrounded by the same atmosphere.
RAKAYA (V.O.)
Can you see it?
The panic in Graham -- like he's in a nightmare, can only move
slowly -- he's so trapped, unable to move -- a trippy paralysis
dream -- surrounded and trapped by light and smoke and noise --
RAKAYA (V.O.)
I'm trapped here. This is what he did
to me.
(Beat)
Help me. Graham, it’s close.
And he's back in the room -- with Gabriel and his other mate. The
cards are spread all over the table, in a mess. He looks to the
two mates, who are looking at him --
FRED
Think you lost count.
On Graham, freaked out --
CUT TO:
10:09:06 INT. TIBO'S FLAT - AFTERNOON
Chip papers nearby, RYAN and TIBO on the sofa playing FIFA -- Ryan
super-engaged, Tibo half-hearted, caring less. (We're on them, we
don't need to see the game).
RYAN SINCLAIR
Goes past one, goes past two --
(flick of the controller;
goes wild)
Oh, it's a screamer! Top bins! Final
seconds!
(the whistle goes; Ryan
can't contain himself)
He's done it! He's a legend, Ryan
Sinclair, FIFA legend!
(Beat; calms)
I never lost it. I’ve still got it.
But all through that, we've been closing in on Tibo, who's sat there,
looking ahead. Not engaged. Not himself. Not really even
registering Ryan's celebrations --
Ryan calms, looks to Tibo -- wonders if he's offended Tibo.
RYAN SINCLAIR (CONT'D)
I'll make tea.
On Tibo.
ANGLE ON: RYAN in the kitchen. Raises an eyebrow at the mess. The
table littered with take away food containers. Dirty dishes in the
sink. Ryan looks to TIBO in the doorway.
RYAN SINCLAIR
Your place is normally spotless. This
ain't you.
TIBO
Mate, you ain't been around. So don't
tell me what I am.
Beat. Ouch. Ryan recoils. That hurt. And this isn't like the friend
he knows.
RYAN SINCLAIR
OK.
(Beat)
Listen, I'm sorry for not answering
your messages. But -- you ain't
yourself.
TIBO
Just finding things difficult at the
moment.
Ryan looks at his friend -- seeing this, concerned for him.
RYAN SINCLAIR
You talk to anyone about this?
TIBO
(tough)
No. And I'm not going to.
RYAN SINCLAIR
Alright.
Beat. Tibo doesn't deny that.
TIBO
There's something else.
(Beat)
Promise you won't laugh at me.
RYAN SINCLAIR
You know I can't ever promise that.
TIBO
(smiles but it fades fast)
Last few days, I've been having
nightmares. Dark, messed-up stuff.
(Beat)
And there's this... bloke in them.
Keeps recurring. Like he's
--watching my dreams.
(close in on Ryan)
Waiting. In the dark.
Ryan leans forward -- engaged --
RYAN SINCLAIR
Alright, that's creepy.
TIBO
That's not the mad bit.
(Beat)
Past few days -- I've seen him. At
night. Outside the flat. Across the
hall.
(Beat)
In my room.
Close in on Ryan -- woh.
RYAN SINCLAIR
The guy that’s in your dreams, is in
your room?
TIBO
I knew you'd laugh --
RYAN SINCLAIR
Look at me. Not laughing. Cos I've
seen some weird stuff while I've been
away. Things you wouldn’t believe
were possible.
Tibo looks to Ryan -- grateful for that.
TIBO
Would you kip here, tonight?
Ryan looks at Tibo -- Tibo is genuinely scared.
CUT TO:
10:11:20 INT. YAZ'S FLAT - MOMENTS LATER
SONYA and YAZ eating round the table.
SONYA
Can you say where you've been?
Where've they sent you?
YAZ KHAN
Madagascar. California. Hong Kong.
(Beat)
Gloucester.
SONYA
Oh, they had a thing in Gloucester!
Dad was going on about it, something
to do with Russians.
YAZ KHAN
It were nowt to do with Russians.
How's the new job?
SONYA KHAN
Sacked.
YAZ KHAN
Sonya!
SONYA KHAN
What?!
YAZ KHAN
That's the third time!
SONYA KHAN
People are really annoying. And they
hate being told that. I'm not cut out
for customer services.
YAZ KHAN
No kidding.
(Beat; delicate)
Sonya, we could...stop doing this.
Stop marking it.
Beat. Sonya looks at Yaz -- the mood's changed; more delicate.
Sonya more vulnerable.
SONYA KHAN
I thought it was a good thing.
YAZ KHAN
Yeah, no, I just dunno whether having
a sort of anniversary dinner is the
right --
SONYA KHAN
(quiet; over her)
I still think about it.
(Beat)
Do you?
Close in on Yaz. Sisterly banter stripped away now.
YAZ KHAN
(quieter)
I dream about it sometimes.
Beat.
YAZ KHAN
(attempts to lighten mood)
Sofa movie after?
SONYA KHAN
What, so you can fall asleep halfway
through?
YAZ KHAN
I do not do that!
CUT TO:
10:12:28 INT. YAZ'S FLAT – EVENING
10:12:28 Background TV music in: Such Sweet Sorrow
TV blaring. YAZ asleep on the sofa. SONYA stands looking at her.
SONYA KHAN
(affectionate)
Idiot.
We close in on Sonya's face. And we hear her voice as if in a distant
memory for her -- the voice tinny, echo-y. And Sonya's face worried,
absorbing, unable to keep this memory out –
10:12:44 Background TV music out: Such Sweet Sorrow
SONYA KHAN (V.O.) (CONT'D)
Hi. I didn’t know who to call. We need
help.
CUT TO:
10:12:47 INT. YAZ'S NIGHTMARE
YAZ on a deserted country road. Middle of the Peak District. Yaz
is stood in the centre of the road, as alone here as she was in
the infinity space. She looks ahead. She looks back. Deserted.
Yaz blinks. Now there's a police car parked rakishly in the middle
of the deserted road. And a figure standing there, impassive,
daunting. This is ANITA -- an older police officer. She looks
ominous, judgmental. Close in on Anita. Close in on Yaz. The sound
of a man laughing ..
A figure distant in the middle of the road.
Now that figure appears closer: SONYA.
Two sisters facing each other.
CUT TO:
10:13:10 INT. YAZ'S FLAT - NIGHT
YAZ SLAMS UP startled -- in the darkness of the flat, but then --
-- a FIGURE in the corner of the room! -- the same face, bald,
tattooed -- barely visible in the dark but unquestionably there
--- Yaz recoils --
YAZ KHAN
Who are you? What're you doing
there?!
Looks again -- the figure gone. On Yaz: freaked. Did she just dream
that? Pre-lap the sound of laughter --
CUT TO:
10:13:32 INT. TIBO'S FLAT/LIVING ROOM - NIGHT
RYAN is lying on the sofa, in TIBO's lounge. The clock ticks --
3:31AM.
When all the ambient sound drops out of the room --
CUT TO:
10:13:40 INT. TIBO'S FLAT/BEDROOM - NIGHT
WIDE: Tibo's bedroom. Tibo in bed. Room otherwise empty.
Pull focus to reveal TIBO sleeping in his bed. Move in slowly on
him.
WIDE: now there's a figure in the corner of the room. ZELLIN steps
out of the shadow in the corner of the room half-lit by moonlight.
Bald headed, tattooed. Terrifying.
He stands, distant from the bed, looking at it. Impassive.
Staring at Tibo, sleeping. Close in on Zellin, his eyes cold. His
body still.
He holds up his left hand, looks at his palm. Turns it, in the light,
looking at it.
And as he does, the fingers detach!
Schunk! All at once, all in unison! Four fingers, one thumb!
Fingers detaching, at the join to the main body of the hand.
They hover and float a couple of feet in front of Zellin's face,
elegant, gliding -- Zellin smiles, so cold, he relishes this --
The disembodied fingers glide elegantly across the dark moonlit
room, flat, almost pointing, towards Tibo, gliding six feet off
the ground, eye level -- weird, dreamlike, almost balletic --
They hover over Tibo -- slowly circling! Then, two of them lower,
as the others hover --
And PLUNGE INTO TIBO'S EARS!
Like USB sticks locking on! Stumps in first, fingers pointing
outwards! Freaky and weird and YUK!
Tibo's body goes rigid and stiffens -- his back arching a little
-- his eyes still closed -- he gasps in his sleep --
And Zellin, all the time, watching, still, poised --
CLOSE: the fingers become translucent. And they fill up with dark
smoky mist -- emanating from within the ear --
Zellin watching it all. The fingers filling up with the mist --
He looks at his own hand -- the knuckle stumps. Raises an eyebrow
at them -- and FINGERS GROW BACK! The hand back to normal.
When the door slams open -- RYAN! Sees Tibo --
RYAN SINCLAIR
What you doing? Hey!
Zellin turns slowly to look at Ryan --
And as Ryan speaks -- Zellin gestures, minimally, with the index
finger on his right hand, a tiny flick of the finger almost as if
conducting --
And he, and Tibo, and the fingers -- all vanish! GONE!
On Ryan -- shocked, scared. He checks -- empty bed, no Tibo. Looks
round the room, no Zellin. Close in on Ryan.
RYAN SINCLAIR (CONT'D)
Tibo.
CUT TO:
10:14:32 INT. BIMARISTAN/CELL - NIGHT
THE DOCTOR sonic'ing the ceiling. TAHIRA with her --
THE DOCTOR
What's your name?
TAHIRA
Tahira.
THE DOCTOR
Have you seen those creatures before,
Tahira?
TAHIRA
Not really. Who are you? I've never
seen you here before, Doctor.
THE DOCTOR
My brief is quite wide ranging.
(considering evidence)
No signs of those creatures outside
of the walls of the Bimaristan. So:
deliberately targeting a hospital of
vulnerable people.
TAHIRA
The place is silent. Where is
everyone else?
THE DOCTOR
How many people were there?
TAHIRA
Maybe ten or twelve patients.
THE DOCTOR
I'm sorry. I think those creatures
must have taken them.
TAHIRA
Taken them where?
THE DOCTOR
I don't know. And why did they leave
you behind?
(looks to Tahira)
How long have you been here? If it's
not a personal question, which it is.
TAHIRA
A few weeks.
(Beat)
I've travelled a long way. Seen a lot
of things I wish I hadn't. My family
were killed when I was seven.
(Beat)
I ran. Aleppo was safety for me. They
let me in here, because I wasn't doing
well.
THE DOCTOR
I promise to keep you safe. We will
work this out.
(and her phone is ringing)
I'm really sorry -- message device.
(answers her phone)
Just in 14th century Syria. Is it
tomorrow lunchtime already?
INTERCUT: RYAN in Tibo's room --
RYAN SINCLAIR
I need your help. My mate's been taken
--
THE DOCTOR
(as her phone beeps)
What? Wait -- another call -- hang on
--
(presses button)
Yaz?
INTERCUT: YAZ in her flat --
YAZ KHAN
Doctor -- there was a figure in our
flat --
THE DOCTOR
(as her phone beeps)
OK, hold on --
(presses button)
Graham?
INTERCUT: GRAHAM in a corner of Gabriel's house (maybe the loo or
bathroom?) all alone --
GRAHAM O'BRIEN
Doc, I keep seeing these images, of
planets, like they're being
projected into my head.
THE DOCTOR
Hold on --
(sonics the phone)
Call merge --
(down the phone)
Coming to get you all now.
(and her eye is caught by
something)
And I'm bringing my new friend
Tahira.
INTERCUT: split screen Ryan, Graham and Yaz, all on the phone --
RYAN / GRAHAM / YAZ
(simultaneously)
Who?!
THE DOCTOR
There in a sec.
(hangs up; looks past
Tahira)
Aha!
TIGHT: the Doctor's face goes close to the wall. There are scratch
marks on it. She peers even closer. A couple of tiny, barely
viewable strands of fur.
THE DOCTOR (CONT'D)
They did leave something behind. I
knew it. This'll tell us something.
(she takes the strands
carefully -- then --)
Come on! I'll explain as we go, but
it might blow your mind --
And she races out -- we're on bewildered Tahira, who follows –
10:16:20 Music out ‘M4 The Bloke’
CUT TO:
10:16:20 EXT. SPACE-TIME VORTEX – DAY
10:16:20 Music in ‘M5 Your Worst Fears’
The TARDIS moves through the vortex --
CUT TO:
10:16:25 INT. TARDIS - DAY
TARDIS in flight as THE DOCTOR's at the lab table examining the
Chagaska strands of fur -- as TAHIRA stands, still frozen in wonder,
looking round. GRAHAM, YAZ and RYAN on board now.
ANGLE ON: THE DOCTOR looking at the Chagaska hair through a
diamond-cutters eyeglass -- with tiny clamps attached to each hair,
as they sit on the TARDIS lab table -- on one of the roundel screens,
data is flooding across -- in Gallifreyan -- the Doctor looks
between the data, and the strands of hair --
THE DOCTOR
(as she works; distracted)
Tahira, this is Graham, Ryan and Yaz
-- Tahira's from Aleppo, in 1380.
I've explained the TARDIS, and the
fact that you're from 700 years in her
future.
TAHIRA
(looks from the TARDIS to
the smiling trio)
I'm really not ready for today
THE DOCTOR
(really cross)
No, don't tell me that cos you're
wrong --
(TARDIS sounds)
-- well I'm telling you you are --
TAHIRA
(to Ryan, Graham and Yaz)
Who's she arguing with?
THE DOCTOR
The TARDIS cos it's telling me --
quite defiantly -- that these two
strands of fur do not exist.
(pointedly, to the TARDIS)
When they're right there!
(to Tahira)
Those creatures that we saw don't
register in its databanks. They have
never existed and will never exist.
Except they must. Cos if they don't
exist, if they can't exist -- where
did they come from? And how?
(to Ryan)
Tell me what happened to your mate.
RYAN SINCLAIR
This guy was in his room, dunno how
he got in. And his fingers, they like
detached from his hand -- and
connected Tibo's ears. It was like
they were draining him of something.
YAZ KHAN
What did he look like?
RYAN SINCLAIR
Bald, tattooed head.
YAZ KHAN
(freaked out)
Woh. Same bloke that was in the flat.
(Beat)
THE DOCTOR
(turns to Graham; grave)
And you -- a psychic incursion in your
head. Someone trying to communicate
with you.
GRAHAM O'BRIEN
Yeah, but it was a woman, trapped
inside this -- I dunno what. Couldn't
make it out.
(Beat)
And I saw, like, planets. Burning.
Like she was connected to them,
somehow.
THE DOCTOR
Someone's targeting us.
(to Graham)
Do you have any idea where those
planets might be.
GRAHAM O'BRIEN
Oh, yeah, if you've got an A-Z of the
universe, I'll stick my finger on it
straight on. No, of course I ain't.
THE DOCTOR
Right then. Better idea.
(unleashing a panel)
TARDIS telepathic circuits.
CUT TO:
10:17:53 INT. TARDIS - MOMENTS LATER
THE DOCTOR is connecting GRAHAM into the TARDIS telepathic
circuits via cables, wires, electrodes all around his face. Very
steampunk and very high-tech at the same time.
THE DOCTOR
Stop fidgeting will you!
GRAHAM O'BRIEN
Doc, I don't like it -- you sure it's
safe?
THE DOCTOR
You trust me, don't you?
GRAHAM O'BRIEN
Do I have to answer that?
THE DOCTOR
Oy!
GRAHAM O'BRIEN
Is it gonna hurt?
THE DOCTOR
No. Probably not. Maybe, yeah. Ready?
GRAHAM O'BRIEN
No!
THE DOCTOR
(at the console)
Focus on that image.
She activates the circuits. Graham closes his eyes. We move in on
him --
FLASH IMAGE: RAKAYA IN THE ORB -- GRAHAM IN THE ORB --
BANG! The console explodes! But the rotor starts moving!
THE DOCTOR
Found something -- we're moving --
but where?
But it's really bumpy! Juddering and shaking, and lots of groaning
from the TARDIS -- this is hard won.
And the TARDIS lurches again --
CUT TO:
10:18:22 EXT. SPACE
Asteroid rocks and space debris hang in an inky indigo vista.
And as we close in slightly amongst them, a strange unusual object
-- in the shape of a scutoid, as if the scutoid were on its side.
Some form of building in space. Pre-lap: the sound of the TARDIS
materialising.
CUT TO:
10:18:28 INT. MONITOR STATION/MAIN SPACE - DAY
The TARDIS materialising: THE DOCTOR, RYAN, GRAHAM, YAZ and TAHIRA
step out into a dark sci-fi space, illuminated and defined by
magenta and blue neon. Walls stripped with screens and lights. Half
a dozen uniformed cobwebbed skeletons dotted about the place --
otherwise deserted. Spooky, creepy, ominous.
THE DOCTOR
(to Graham)
Deep space. Distant future. Is this
what you saw?
GRAHAM O'BRIEN
No. Nothing like this.
THE DOCTOR
Then why are we here? What did the
telepathic circuits lock on to?
RYAN SINCLAIR
If they were hooked into your mind,
no wonder we’re somewhere dark and
weird.
GRAHAM O'BRIEN
Oi!
YAZ KHAN
D'you even know where we are?
THE DOCTOR
Half a galaxy past the Geskon Straits.
Very little out here. No
civilisations left by now. Doesn't
feel like a ship, though, we're in
geo-stationary orbit. But that would
be deliberate. So why here?
TAHIRA
(to Yaz)
Are we underground? Is that why it's
so dark?
YAZ KHAN
The Doctor reckons this is a building,
among the stars. We've come a long way
from home.
TAHIRA
That's impossible. Nobody can travel
across the stars.
YAZ KHAN
Unless you know the Doctor. She's
basically the definition of
impossible.
Tahira can't help a smile of wonder, amidst all her fears. Yaz
smiles back -- these two would be mates, in another time.
In the centre of the room, a circular space is marked out in a wall
of cyan light and steam/mist. The Doctor approaches it -- walks
round it. She reaches through it. Inside, several vertical magenta
beams, width of drinking straws, height of the room pop up. Half
a dozen of them.
THE DOCTOR
Control hub? Operator activated.
The Doctor steps through -- and as she does -- behind her, and the
group, a massive section of the main wall starts to open --
revealing a huge viewing panel.
GRAHAM O'BRIEN
Now you've got something there Doc.
THE DOCTOR
Yeah, but what?
And it's showing: two planets, dangerously close together, near
to collision, burning with intense reds and oranges. The quintet
are awestruck.
GRAHAM O'BRIEN (CONT'D)
(transfixed)
Hey, look! That's exactly what I saw.
Those two objects.
THE DOCTOR
This must be a monitor platform.
Observing events in this part of the
solar system.
RYAN SINCLAIR
What are they -- planets? They look
they're falling into each other.
THE DOCTOR
Colliding, about to destroy each
other -- an extinction event.
(peers)
Except they're not colliding, and
they should be. What's stopping the
final collapse? Let’s take a little
zoom in.`
The Doctor plays with the pins of light - and on the screen -- we
zoom in and focus on a tiny bubble sat between the planets.
THE DOCTOR (CONT'D)
There's something there. Between
those planets.
RYAN SINCLAIR
What sort of something?
Close in on Graham -- as the image ZOOMS FURTHER: a translucent
orb in between the planets. Giving off a stasis force field --
THE DOCTOR (CONT'D)
Good question. Wow. The engineering
required to create that, and keep it
in plac. Brava, whoever built that.
Round of applause from me.
GRAHAM O'BRIEN
Can you magnify that? Zoom in.
His certainty surprises them all. The Doctor and the others look
to him. He's transfixed, serious. The Doctor does --
THE DOCTOR
Why?
GRAHAM O'BRIEN
I think there's more to see.
The Doctor increases the magnification. A shape inside the orb.
THE DOCTOR
A tiny geo orb locked in place.
It blurs and increases on screen. A shape -- a silhouette --
RYAN SINCLAIR
Is there someone in there?
GRAHAM O'BRIEN
That’s it. She's trapped. That’s what
I saw.
On Graham's startled reaction. The voice in his head.
GRAHAM O'BRIEN
Doc – we’ve got to help her out.
RAKAYA (V.O.)
(in Graham's head)
Please.
YAZ KHAN
Hey -- seen this? This whole section
is covered in fingers!
She's been exploring -- and is now at the furthest wall panel. It
becomes more illuminated as she gets closer. It's like it's been
broken open, ransacked and re-purposed -- and now it's a wall of
vials. All full of thick black liquid. Dozens and dozens of them.
And to the side, alien graphics fizzing around --
THE DOCTOR
(running over)
What? Covered in fingers? And there's
a signal coming from them.
(checks sonic)
Broadcasting to that orb. To that
girl. A psychic signal. Fed by all of
this. But what is it?
She sonics the section -- an adjacent part of the wall comes open
-- within it a smaller version of the orb, glowing with light and
chittering --
THE DOCTOR (CONT'D)
This place has so many secrets to
yield.
The Doctor -- examining the orb, but not touching. Then checking
the projections/screens which surround it, fizzing out
calculations and data in alien script.
THE DOCTOR (CONT'D)
This is the tech powering the
platform, powering that orb --
keeping it in place between the two
planets. And at its heart – a quantum
flux lock! A sequence of changing
combinations, hundreds of billions
of combinations every millisecond.
(looks to the screen)
Which would mean that Orb - It's a
prison. She's been locked in there.
And fed by that signal. Signal of what
though?
YAZ KHAN
(looking around)
Where's Tahira?
CUT TO:
10:22:11 INT. MONITOR PLATFORM/SECOND CHAMBER - CONTINUOUS
TAHIRA walks into this chamber -- circular, as big as the first.
Around the space, humans are clamped to the walls (in set-back
alcoves) held in place by hand clamps above head height. Lit in
shadow, unconscious. Including: TIBO and MARYAM.
TAHIRA looks to another section of the wall, a clear panel. As she
goes to peer in -- a CHAGASKA SLAMS against the panel, making her
jump! A Chagaska prison -- it roars and howls.
TAHIRA
Maryam!
ZELLIN
D'you recognise them? The Chagaskas
She turns -- ZELLIN is in the shadows: imposing, calm, assured.
ZELLIN (CONT'D)
Your worst fears. My creativity.
As Tahira watches, the fingers from both hands detach -- schunk!
RYAN SINCLAIR
There she is! Oy freakhands! Get away
from her.
From the panel where Tahira entered, step RYAN, GRAHAM and YAZ.
YAZ KHAN
Plus, you can release all of these
people, right now. And don’t you ever
come sneaking into my family’s flat!
Zellin turns to them, as Tahira joins them, and AIMS HIS HANDS!
GRAHAM O'BRIEN
Oh, that's not good --
And the FINGERS COME FLYING AT US LIKE ARROWS! HEADING FOR THE
SCREEN! Heading for the gang! As they hit -- WHAM! Go to black!
10:22:59 Music out ‘M5 Your Worst Fears’
CUT TO:
10:22:59 EXT. PEAK DISTRICT/DESERTED ROAD - DAY – NIGHTMARE
10:23:00 Music in ‘M6 Board for a Game’
YAZ in the middle of the road. Tiny figure in the huge landscape.
Absolute isolation.
Totally alone. The wind is whipping up. She spins round --
A figure distant in the middle of the road.
Now that figure appears closer: SONYA.
Two sisters facing each other.
On Yaz. Confused.
SONYA KHAN
Do it right this time.
(Beat)
I won't be calling anyone. No point.
(Beat)
You're weak. You run.
(Beat)
Nobody's coming Yaz.
(Beat)
You're alone in the dark.
Yaz turns -- ANITA, ominous, daunting, in front of the police car,
as per the nightmare earlier is standing there -- but then she fades
away.
Yaz turns back. No Sonya.
YAZ KHAN
Sonya?
WIDE: YAZ is left all alone. Dark skies. Endless landscape.
TIGHT: On tearful Yaz.
YAZ KHAN (CONT'D)
(so quiet)
Anyone.
The tiny figure alone in the world.
CUT TO:
10:24:05 INT. FIERY DARKNESS - NIGHT
Flames. Heat haze. Smoke. RYAN -- shot through a heat haze, and
flames -- stands, waving away the smoke --
He looks around. Dark indistinguishable place. Echo-y. It's
defined around the edges by flames, flickering. The roar of it,
the sound of everything on fire in the distance.
And as he looks, he sees an OLD MAN, sat on an old chair. Looking
at Ryan. Couple of old men, identical to him, distant behind him,
also sat on chairs, looking on, impassive, unimpressed. In the
distance behind them, more flames.
Ryan stares at the old man, who's staring looking at him.
RYAN SINCLAIR
Tibo?
OLD TIBO
Where you been, man? We waited for you.
You said you'd be back.
RYAN SINCLAIR
How long you been waiting?
OLD TIBO
Our whole lives.
RYAN SINCLAIR
What's all the fire?
OLD TIBO
The place is burning.
RYAN SINCLAIR
What place?
OLD TIBO
Earth. You weren't here.
I thought we were mates.
Close in on Ryan -- traumatised by this. He looks back through the
flames –
The faces of TIBO and the other two are now the faces of DREGS!
Dripping, jaws open, roaring, surrounded by smoke and fire!
CUT TO:
10:25:08 INT. CONSULTING ROOM - DAY - NIGHTMARE
AN IV DRIP. Dripping into a tube. We move off it, onto Graham
looking at it, confused. He checks his arm -- a canula. He's
connected to the IV drip. What?
GRAHAM O'BRIEN
Why am I hooked up to this?
He looks over at the table. GRACE, in consultant's clothes, is
sitting on the desk. She's brisk, professional, disinterested.
GRAHAM is sat on the examination bed, as per ep 1. Confused,
disorientated. But it feels real, uneasy, not super-heightened.
GRAHAM O'BRIEN (CONT'D)
Grace?
GRACE
I'm sorry to tell you, Mr O'Brien.
Your cancer has returned.
Close in on Graham -- thrown.
GRAHAM O'BRIEN
What? That can’t be right. I had a
check-up. You're not my doctor,
anyway.
GRACE
This time it’s very aggressive.
GRAHAM O'BRIEN
How long have I got?
GRACE
(checks watch)
Couple of hours.
Why didn't you save me?
Close in on Graham: so sad, so traumatised.
GRAHAM O'BRIEN
Let me try again.
CUT TO:
10:26:10 INT. MONITOR STATION/MAIN SPACE - DAY
Close on THE DOCTOR at work on the orb system --
THE DOCTOR
(chatting quietly)
For most people, a quantum flux lock
is unbreakable. A hundred billion
combinations every millisecond --
but I've got an app for that.
(Beat)
One sonic --
(looks back to the TARDIS)
-- connected to the calculating power
of one TARDIS, shouldn't take long at
all --
(realising)
-- and I'm talking to myself again,
which means --
She turns. The place is empty.
THE DOCTOR (CONT'D)
The others aren't here.
And she looks at her arm -- the tiny hairs on her arm are standing
on end -- and the sound has dipped out of the room.
ZELLIN
Hello Doctor. I've watched you,
stumbling round this universe.
THE DOCTOR
I presume this is your doing. Who's
that girl in the orb?
And where are my friends? Who are you?
ZELLIN
I go by many names. My preferred, my
original is Zellin.
THE DOCTOR
No. Zellin's a mythical name -- way
beyond this universe. Zellin was
thought to be a God.
ZELLIN
I blush.
On the Doctor's horror --
THE DOCTOR
You can't be.
ZELLIN
We immortals need our games, Doctor.
Eternity is long -- and we are cursed
to see it all. The Eternals have their
games, the Guardians have their power
struggles. For me, this dimension is
a beautiful board for a game. The
toymaker would approve.
(Beat)
And I do like this form. It's so...
small. To exist within molecules and
atoms is fascinating. I can shape
them -- regrow, mould my form --
(Beat)
-- to provoke fear from humans. As I
extract nightmares, from the scared,
and vulnerable.
(Beat)
Now that is a good game.
THE DOCTOR
(realises; checks the
vials)
Wait. Are you transmitting
nightmares? Taking nightmares from
humans, and forcing them into the
mind of a girl you've trapped between
planets?
ZELLIN
I've seen many races, Doctor. And the
humans are infinitely fascinating.
Infinitely pathetic.
(Beat)
But of course, you know that. We share
the same obsession.
THE DOCTOR
We are not the same.
ZELLIN
No. You are so much lesser.
(Beat)
You know the best part of humanity?
The thing that truly sets them apart.
(Beat)
The cruelty of their own minds,
directed towards themselves.
(Beat)
The doubt and fear. The endless
voices telling themselves they're
incapable and unworthy.
(Beat)
Such an exquisite animal. Built-in
pain. And the repositories of that
pain: the nightmares.
(nods to the vials)
And the system orb makes a sound -- the Doctor's eyes light up.
ZELLIN
I presume that’s your doing Doctor?
Always interfering.I've watched you
blunder into this.
THE DOCTOR
Blundering. Yes, top of my CV.
Alongside plays well with others and
excellent tap dancer in a crisis.
ZELLIN
(fascinated)
Almost clever, but not quite clever
enough.
THE DOCTOR
Sure about that?
The Doctor glances at the orb -- glowing, glowing --
-- as the orb's glowing, shaking, trembling -- THE DOCTOR keeping
ZELLIN talking, buying time --
Cos -- look -- your prisoner? She's
free. Used your technology against
you --
And as they watch: RAKAYA materialises, balled up on the floor.
Zellin turns back to the Doctor --
ZELLIN
No Doctor. I used your instincts,
against you.
THE DOCTOR
What?
ZELLIN
I made the Chagaskas, targeted the
humans -- to entice you here.
(close in on the Doctor)
I needed someone from this realm, to
break a lock from this realm. And only
one would do. You.
THE DOCTOR
(so quiet now)
No.
CUT TO:
10:30:31 INT. THE ORB
ZELLIN
You did find the right answer. You
weren’t asking the right questions.
RAKAYA in the orb -- begins to glow --
RAKAYA
My freedom --
And she begins to shimmer!
CUT TO:
10:30:41 INT. MONITOR STATION/MAIN SPACE - DAY
ZELLIN
This platform isn’t my technology. I
didn't make this prison.
(Beat)
She was always the more powerful of
us. The more dangerous. That's why
they imprisoned her first.
(off the Doctor's horror as
he turns to watch)
I just ride in her slipstream.
And as she watches, Rakaya slowly, gradually, opens up, rises --
and stands to her full height. Looks at her limbs -- looks to Zellin.
He walks over. He has tears in his eyes. So does she. The Doctor
watches on in horror.
RAKAYA
Release. After all this time.
And we're closing in on the Doctor's horror --
THE DOCTOR
I don't understand --
RAKAYA
Let me make you.
She flicks a hand -- there's a white flash we
10:31:20 Music out ‘M6 Board for a Game’
CUT TO:
10:31:20 GODS MONTAGE
10:31:20 Music in ‘M7 His Eternal Partner’
We start on the two planets. Separate, in space.
RAKAYA (V.O.)
Two creatures from another realm
descended into the universe, where
they were worshipped as Gods. They
saw two planets, and laid a wager.
(Beat)
Which of them could bring their
planet to destruction first.
And now we move into cave paintings or tapestries. The story played
out through drawn or carved images. Old school.
RAKAYA (V.O.)
The Gods set to their games: sowing
chaos across the populations of the
planets. Wars began - between species,
then between the planets themselves.
The Gods delighted in the carnage.
(Beat)
It passed the time.
(Beat)
But slowly, the inhabitants of the
worlds grew wise. Realised what these
creatures had done to them. They
unified and fought back against their
so-called Gods.
(Beat)
They set their own planets into a
collision course. And at the heart of
the collision, they laid a prison.
(Beat)
They trapped one creature, between
the planets, for eternity.
(Beat)
The other fled, vowing to return. To
release his eternal partner.
CUT TO:
10:32:23 INT. MONITOR PLATFORM/SECOND SPACE - DAY
THE DOCTOR's eyes open as she comes back to consciousness. Looks
to her side -- GRAHAM, YAZ, RYAN, TAHIRA, all unconscious, arms
chained upwards like the others. The vials of dark liquid poke out
their ears (not looking like fingers now, as they're full).
Dangerous, eerie, chilling. The platform is rumbling. FINGERS and
RAKAYA in front of her.
ZELLIN
Wake up Doctor. Welcome back. I hope
you understand now. I wasn't
torturing her with nightmares. I was
feeding her what she needed to stay
sane. The pain of others.
(Beat)
But even Gods need a helping hand,
Doctor. Thank you.
(Beat)
You all won't feel a thing when this
all burns.
RAKAYA
Yes they will.
ZELLIN
(looks at the Doctor)
Yes.
The Doctor looks along at the others -- unconscious -- the platform
shaking --
ZELLIN (CONT'D)
(to Rakaya)
Where now?
RAKAYA
All those nightmares. I loved them.
ZELLIN
Humans.
RAKAYA
(so simple)
Earth. Let's take them all.
ZELLIN
Yes.
He clasps her hand -- Bonnie and Clyde, but creepier, weirder and
wronger -- and they disappear.
Close in on the Doctor. The horror! And there's one finger
remaining -- it hovers in the air, tauntingly --
THE DOCTOR
Oh come on --
She struggles -- as it zooms at her -- and we pull focus to YAZ:
CUT TO:
10:33:20 EXT. SHEFFIELD - EVENING
Establisher: aerial footage of Sheffield.
CUT TO:
10:33:27 EXT. DOMESTIC STREET - NIGHT
ICONIC: RAKAYA strides slowly down the centre of a long domestic
street in Sheffield. Walking like she owns the planet.
A BLOKE at a window of his house looks out, bewildered. Another
PASSER-BY on the opposite pavement looks at her strangely. What
is she doing?
ZELLIN standing at the other end of the road. Rakaya far away,
walking. We close in on Zellin admiring her -- and then, as we cut
back, she's there, closer to him.
RAKAYA
What do you think it feels like, for
them? To be such tiny, ephemeral
flashes of existence.
(Beat)
They feel so much.
It must burn them.
ZELLIN
I think it does.
10:34:21 EXT. SUNLIT MONUMENT - DAY
The Doctor – her dreaming. Sunshine. A huge monument. Rumbling
sounds, all around. Move down the monument to reveal a VERY YOUNG
GIRL standing at the bottom of it. She turns, looking --
At the other edge of the monument's area, is THE DOCTOR. Standing,
looking confused.
We now here The Masters word’s from a previous episode ,
echoing throughout The doctor’s dream:
It’s buried deep in all our memories.
In our identity. Built on the lie of
the timeless child.
Close in on the Doctor. Close in on the girl.
CUT TO:
10:34:40 INT. MONITOR PLATFORM/SECOND CHAMBER - DAY
THE DOCTOR gasps awake -- the place still rumbling -- looks up at
her hands -- clamped -- the others awake –
THE DOCTOR
Right. Think this will hold me do you?
THE DOCTOR looks down at her coat pocket. She jumps, while still
clamped. And FLICK-KICKS upwards -- the edge of her coat pocket
with her boot.
Not quite. She grimaces and tries again -- FLICK-KICK -- and the
sonic is slightly visible popping up! But then back down again!
The Doctor frustrated -- grr! One more time. Jump! Kick! The sonic
FLIES out of her pocket UP --
-- and she grabs it in her clamped hand! SONICS! The clamp opens
-- and the other -- she's free --
-- She grabs the finger shaped vial out of her ear --
THE DOCTOR (CONT’D)
Disgusting --
She's up -- stumbling as the platform lurches -- and FAST CUTS as
she PULLS the finger/vials out of YAZ, RYAN, GRAHAM and TAHIRA's
ears -- sonics their hands free --
GRAHAM O'BRIEN
(waking with a start)
I've just had the maddest dream --
THE DOCTOR
I know. You all have.
(holding up one of the
deadly fingers)
Tranquillising psycho-extraction.
RYAN SINCLAIR
I need to get Tibo --
THE DOCTOR
(sonics Tibo's clamps; then
the finger)
We have to get all these people safe,
and back in their rightful place.
GRAHAM O'BRIEN
Maybe if you stopped messing with
those finger things --
THE DOCTOR
(sonics the finger: it
hovers)
Tapped into the bio-organic code. My
sonic does fingers!
(to the finger)
Down.
(it drops to the ground)
Stay. Good dog.
YAZ KHAN
Ew.
THE DOCTOR
Could be useful!
ANGLE ON: RYAN waking up TIBO -- (during this in b/g, YAZ and THE
DOCTOR wake up TAHIRA).
TIBO
Ryan. Umm -- where am I?
RYAN SINCLAIR
Don't freak out. But you're on
floating space platform, in the
gravitational pull of two colliding
planets, halfway across the universe,
cos of that guy who was stealing your
nightmares through creepy detachable
fingers.
Tibo stares at Ryan. Beat.
TIBO
Prank?
RYAN SINCLAIR
No.
TIBO
(Beat)
Take me through that again.
BANG! ROAR! A CHAGASKA roar! ANGLE ON: THE DOCTOR and TAHIRA by
the frosted panel it's behind. We can still hear it.
THE DOCTOR
I know why they didn't attack you.
Because they're yours. Zellin -- that
man -- created the Chagaskas from
your nightmares.
(Beat)
So they couldn't kill you, they
wouldn't -- because you created them.
(Beat)
10:36:18 INT. MONITOR PLATFORM/MAIN SPACE - DAY
THE DOCTOR, back with the control orb, as the platform judders --
THE DOCTOR
So, how do you defeat two rampaging
immortals? Answer: you don't. Those
two planets, they spent millennia
trying to work out how to do it.
GRAHAM O'BRIEN
Motivational speech needs work, Doc.
And also a plan by the way.
THE DOCTOR
Oh, I've got plans crashing through
my brain, all the time. You want plans,
come to me. Identifying the one
that's gonna work. That's the tricky
bit.
And she glances down to the ground. Sees something: LOW ANGLE
looking up at THE DOCTOR: she beams! An idea!
Close in on her. And there's 12% of a thought starting to coalesce
-- big big smile --
CUT TO
10:36:48 EXT. DOMESTIC STREET - NIGHT
She stops right in the middle of the street.
RAKAYA (CONT'D)
This is perfect, Zellin. You've done
well.
ZELLIN
Take them all. Billions in one go.
Gorge on their fears.
And Rakaya looks at him --
RAKAYA
Why would we rush? We have so much
time.
(Beat)
To walk in their nightmares.
(Beat)
We can pass eternity here. If we take
it slow.
Close in on Zellin -- in awe of her.
ZELLIN
Of course.
Zellin smiles.
CUT TO:
10:37:33 INT. CHILD'S BEDROOM - NIGHT
A tired crabby MOTHER tucking her ten year old CHILD into bed.
MUM
I've told you - there are no bogeymen.
Nothing to be worried about. Night
night.
She exits the room. Closes the door.
On the child in the bed, covers pulled up, head on pillow. Looks
round the dark, deserted room.
Child's POV scanning the bedroom. Nothing there. Now scanning back
the same way the camera's just been past, reverse motion.
And there is ZELLIN! Standing in the dark. Half in shadow.
ZELLIN
(whispers)
That's not true.
The hairs on the child's arms stand up!
Close on: the fingers detaching!
CUT TO:
10:38:10 EXT. DOMESTIC STREET - NIGHT
RAKAYA stands in the middle of the street -- BLACK NIGHTMARE MIST
is flowing out all of the houses, and directly into her --
ZELLIN stands watching her. It feeds her, it's like a drug --
But then, there's a howl of a Chagaska -- Rakaya lowers her head.
Zellin bemused --
RAKAYA
What was that?
ZELLIN
I manifested a creature from a human
nightmare. It's calling across the
timewaves.
RAKAYA
A pet. I want to see.
10:38:40 Music out ‘M7 His Eternal Partner’
CUT TO:
10:38:40 EXT. BIMARISTAN/COURTYARD – NIGHT
10:38:40 Music in ‘M8 The Strength of Humanity’
ZELLIN and RAKAYA fade into existence, in the night-time
courtyard.
CUT TO REVERSE: THE DOCTOR stands before them. Iconic, heroic. RYAN,
GRAHAM, YAZ and TIBO behind her. In front of them, the orb from
the heart of the monitor platform system. It's glowing --
THE DOCTOR
Nice entrance. Welcome to Aleppo.
Very beautiful city.
ZELLIN
(suppressed fury)
How are you here?
THE DOCTOR
I am that little bit smarter than you
thought I was.
(Beat)
Now you listen to me. Earth is not
your play thing.
(Beat)
You're wrong about humans. They're
not pathetic. They're magnificent.
They live with their fears and doubts
and guilts. They face them down,
every day. And they prevail. That's
not weakness. That's strength.
(Beat)
That's what humanity is.
(calls)
Isn't that right, Tahira?
TAHIRA
Yes Doctor!
THE DOCTOR
Why don’t you show them how strong you
are.
TAHIRA walks out of one of the courtyard spaces --
-- and a CHAGASKA jumps out of one of the opposing ones, howling
-- the gang flinch, TAHIRA doesn't. She points to next to her --
-- and the single growling Chagaska rests there --
TAHIRA
My Chagaska!
ZELLIN
How can you control it?
YAZ
Literally conquered her fear.
RAKAYA
Are you -- confronting us?
THE DOCTOR
Yeah. You immortals, so entitled, so
spoilt. Never clear up after
yourselves.
(Beat)
And you really should be careful what
you leave lying about.
She taps the orb with her foot -- the whole world rumbles! Dust
falls from the building -- the Doctor looks alarmed --
THE DOCTOR (CONT'D)
Oops. Sorry – I won’t do that again.
She sonics the air -- and fingers come flying through -- from
opposite sides of the courtyard.
THE DOCTOR (CONT'D)
Just returning your lost property.
Thanks for lending a helping hand.
RYAN SINCLAIR
Really?
THE DOCTOR
Sorry, couldn't resist.
(to Zellin)
What's your worst nightmare?
She sonics -- and the fingers FLY AND SLAM into Zellin and Rakaya's
ears -- then she turns it on to the heart of orb --
THE DOCTOR (CONT'D)
Now Tahira!
Tahira drops her hand -- The Chagaska RUNS at ZELLIN and RAKAYA
As they do -- A blinding light envelopes Zellin, Rakaya and the
Chagaska --
CUT TO:
10:40:14 INT. THE ORB
WHOOMPH! ZELLIN and RAKAYA are transmatted, crammed back in –
As the light dies to reveal:
THE FACE OF THE CHAGASKA NEXT TO THEM! Bearing teeth, roaring!
CUT TO:
10:40:17 EXT. THE ORB
The tiny orb, in the shadow of the crashing planets.
TAHIRA
You made my nightmares real. Now you
can live with them. For all
eternity.
As we pull out, we can hear Zellin and Rakaya's screams --
And the howls and barks of the Chagaska --
And they fade off into silence. Stuck for all eternity together.
CUT TO:
10:40:22 EXT. BIMARISTAN/COURTYARD - NIGHT
The light dies down -- leaving no sign of the immortals.
The gang look over --
THE DOCTOR
Gods, back in their box.
(the orb rumbles; she
kneels)
Need to get this back to the monitor
platform. And all those other people
out of the TARDIS jacuzzi. Come on!
She picks up the orb and heads back to the TARDIS, visible in the
passageway.
10:40:33 Music out ‘M8 The Strength of Humanity’
FADE TO:
10:40:33 EXT. SHEFFIELD – DAY
10:40:33 Music in ‘M9 On We Go’
Sunshine over Sheffield - establisher/stock footage.
CUT TO:
10:40:37 INT. TIBO'S FLAT, SHEFFIELD - DAY
TIBO
Slept like a baby last night.
RYAN SINCLAIR
Good job. You need all the beauty
sleep you can get.
TIBO
Oi, man's still looking fresh.
Beat. Both of them awkward, not knowing what to say.
TIBO (CONT'D)
You'll be going again.
RYAN SINCLAIR
Yeah.
TIBO
Could've told me the truth about it
all!
RYAN SINCLAIR
Would you've believed me?
TIBO
Nope.
(Beat)
Bit more than just the world, you're
seeing. Know when you'll be back?
Close in on Ryan. He's finding it had to admit.
RYAN SINCLAIR
Not sure.
Tibo nods. He's a bit gutted, masking it.
TIBO
Don't make it too long.
(Beat)
I need my best mate.
(Beat)
I get a bit lost without him.
Ryan nods.
RYAN SINCLAIR
I get that too. I've been looking at
what might help. For my mate. There's
something I need you to do for me.
(Beat)
And you can't argue.
CUT TO:
10:41:47 INT. DOMESTIC FRONT ROOM, SHEFFIELD - AFTERNOON
A warm welcoming, shambolic front room. A small group of MEN. TIBO
is there, listening as ANDREW is regaling them with a story,
laughing at himself --
They're all grinning at him and Tibo looks around and dares to speak
(his first time)
TIBO
I get down. And I shut myself off. And
it's like I'm paralysed with it. For
days -- and weeks. It's in control of
me.
(Beat)
And I thought I'd try to do something
about it. I went to the supermarket
just so I could talk to the cashier.
Get back to human contact.
(Beat)
But I got there -- and it's those
self-service checkouts.
They all laugh. Tibo smiles.
TIBO (CONT'D)
I haven't said that to anyone before.
I felt like, it's just me.
ANDREW
It's not just you.
Tibo looks round the circle -- and is so grateful he could weep.
CUT TO:
10:42:31 INT. YAZ'S FLAT - DAY
YAZ sat on the sofa.
CUT TO:
10:42:37 EXT. PEAK DISTRICT - DAY – FLASHBACK
CAPTION: THREE YEARS EARLIER
YAZ, 16ish, with a big rucksack or bag, crammed and overflowing.
She's sat by the side of the road (the same road where we've seen
her in the middle, throughout the episode). She's emotional and
upset.
ANITA PATEL
Hitch-hiking?
YAZ KHAN
(defensive)
No.
ANITA PATEL
Just, taking in the view?
YAZ KHAN
I'm not breaking the law, am I?
ANITA PATEL
Nope.
(Beat)
Where you off to?
YAZ KHAN
Away.
ANITA PATEL
It's good there.
YAZ KHAN
Leave me alone.
ANITA PATEL
Can't do that.
YAZ KHAN
Why?
ANITA PATEL
People are worried about you.
YAZ KHAN
No they're not.
ANITA PATEL
Your sister is. That’s why she
called us.
(Beat)
She's worried you've left and are
gonna do something stupid.
(Yaz looks down)
I've heard things are tough.
(Beat)
Getting bullied at school. Grades
have gone a bit wonky. Parents don't
get what's up.
(Beat)
You must be feeling pretty trapped
and alone.
Yaz looks at Anita, defiant and bleak.
YAZ KHAN
I'm feeling way more than that.
ANITA PATEL
That's better than the other way.
YAZ KHAN
What?
ANITA PATEL
Well, feeling things isn't wrong.
YAZ KHAN
I don't want your speech.
ANITA PATEL
I know. Terrible thing about being
older is, you have all this
experience, and nobody ever wants to
hear it.
(Beat)
Cos I know that there will be so much
ahead of you. Joy. Laughter, Love.
And, yes, pain and upset too. Cos
that's what a life is. The mix.
(Yaz has gone quiet)
What if: this moment, where you want
to run, away from everyone including
yourself, is just that. A moment.
What if we find a way to get you
through it and out the other side.
(Beat)
I've been where you are. Moments
change. Help's out there. As much or
as little as you need.
YAZ KHAN
I'm not listening to you.
ANITA PATEL
Would hard cash make a difference?
(Yaz looks up; bemused)
I'll make you a deal. Look me up, in
three years. If I'm wrong, I'll give
you fifty quid. I'd say more, but the
pay's rubbish.
YAZ KHAN
Get another job, then.
ANITA PATEL
Can't. Love it too much.
(Beat)
But if I'm right, you owe me 50p.
(Beat)
Come on those are good odds.
Close in on Yaz, looking at Anita. And we match cut it back to Yaz
in her flat, in the present day, on the sofa, thinking --
CUT TO:
10:45:26 EXT. RESIDENTIAL STREET - DAY
YAZ walks down a street, checking her phone. Goes up and knocks
at a door. Waits. The door opens: ANITA PATEL. Bit older.
ANITA PATEL
Hi. Can I help you?
YAZ KHAN
Hi. You won't remember me. My name's
Yasmin --
ANITA PATEL
(in unison)
Yasmin Khan.
Yaz standing there, hearing her say her name, brings tears to her
eyes. She nods. And both their hearts are bursting.
ANITA PATEL (CONT'D)
I flippin' do remember you.
YAZ KHAN
I’ve got something for you.
She holds up a shiny gleaming 50p piece, between her fingers. The
light trips off it.
And Anita beams, the biggest, deepest most heartfelt smile you've
ever seen in your life.
ANITA PATEL
You wanna come in?
WIDE: Yaz enters the house. The world carries on.
Pre-lap: GRAHAM's voice.
GRAHAM O'BRIEN (O.S.)
Thing is Doc --
CUT TO:
10:46:12 INT. TARDIS - DAY
GRAHAM O'BRIEN
-- I worry.
(Beat)
About getting sick again. About the
cancer recurring.
(Beat)
I don't know who to say that to. So
I thought I'd said it to you.
(Beat)
Seeing as you're a Doctor.
(Beat)
Once you have it, it's with you all
the time. Not quite a shadow.
I mean, my check-ups are all fine. But
it made me think.
(Beat)
I thought I should talk about it. Cos,
those nightmares, made me realise,
that fear's still there..
The Doctor nods. Beat.
THE DOCTOR
I should say a reassuring thing now,
shouldn't I?
GRAHAM O'BRIEN
Yeah. Probably.
THE DOCTOR
Still quite socially awkward.
(Beat)
So I’m just going to subtly walk
towards the console and look at
something. And then in a minute, I'll
probably think of the thing I
should've said that would've been
helpful.
GRAHAM O'BRIEN
OK.
(she moves away)
I'm so glad we had this chat.
And he's grinning to himself.
ANGLE ON: RYAN and YAZ, sitting at the top of the steps.
RYAN SINCLAIR
How long is this gonna last, Yaz?
Hanging out with the Doctor?
YAZ KHAN
I don't know.
RYAN SINCLAIR
Is this our lives? Going from one
place to the next. Ignoring home.
I'm getting older. But without them.
I'm missing bits of their lives.
YAZ KHAN
When we're done, the Doctor can drop
you back whatever point you want
though.
RYAN SINCLAIR
But we'll have changed. And they
wouldn’t have. It’s like we're like
living at different rates.
YAZ KHAN
The Doctor said: we wouldn't come
back the same.
The Doctor springs up, between them.
THE DOCTOR
I was thinking -- Frankenstein!
RYAN SINCLAIR
What?
YAZ KHAN
What?
THE DOCTOR
Did I interrupt? Am I interrupting?
RYAN SINCLAIR
No.
THE DOCTOR
Cool. You might need to change
clothes.
And she's off -- Yaz looks to Ryan.
YAZ KHAN
On we go.
RYAN SINCLAIR
On we go.
They look at each other. We close in on Ryan, as in the background,
the Doctor slams the lever.
10:48:32 Music out ‘M9 On We Go’
END OF EPISODE.
10:48:32 Music in ‘M10 End Credits’
10:48:32 End Credits Roll
The Doctor Jodie Whittaker
Graham O’Brien Bradley Walsh
Yasmin Khan Mandip Gill
Ryan Sinclair Tosin Cole
Zellin Ian Gelder
Tibo Buom Tihngang
Rakaya Clare-Hope Ashitey
Grace O’Brien Sharon D Clarke
Sonya Khan Bhavnisha Parmar
Tahira Aruhan Galieva
Maryam Sirine Saba
Anita Patel Nasreen Hussain
Gabriel Everal A Walsh
Fred Michael Keane
Mum Amanda Liberman
Old Tibo Willie Jonah
Andrew Anthony Taylor
1st Assistant Director Guy Murray-Brown
2nd Assistant Directors Christopher J Thomas
Mark Corden
3rd Assistant Director Lauren Pate
Assistant Directors Jennifer Day
Christian Jeffcoat
Assistant Director Trainee Mathew-Lee Heath
Unit Drivers Paul Watkins
Jolyon Davey
Steve Darwent
Location Manager Gareth Roberts
Unit Manager Jac Jones
Location Assistant Kyle Yates
Production Manager Delmi Thomas
Production Coordinator Sandra Cosfeld
Assistant Production Coordinator Jade Stephenson
Production Secretary Ellie Simmons
Production Assistant Ariana Scott
Executive Assistant Caroline Cook
1st Assistant Accountant Debi Griffiths
Assistant Accountant Rose Wasdell
Art Department Accountant Hywel Thomas
Cast Payroll Helen Searle
Camera Operator Mark McQuoid ACO
Focus Pullers Jonathan Vidgen
Steve Rees
Camera Assistants Dan Patounas
Scott Waller
Gwilym Jenner
Evangeline Davies
Key Grip John Robinson
Grip Ash Whitfield
Grip Assistant Steffan Allen
Apprentice Grip Harry Spencer
Script Supervisor Alana Marmion-Warr
Assistant Script Editor Caroline Buckley
Sound Maintenance Engineers Christopher Goding
Joe Malone
Gaffer Mark Hutchings
Best Boy Andy Gardiner
Electricians Gawain Nash
Andrew Williams
Gareth Sheldon
Stuart Gale
Construction Art Director Julia Jones
Art Director Nick Murray
Standby Art Director Cerys Lewis
Set Decorator Vicki Male
Production Buyer Rosy Pearce
Assistant Buyer Billie Blue Williams
Petty Cash Buyer Hannah Miller
Set Designers Daniel Kennedy
Lauren Harper
Art Department Assistant Celyn Davies
Graphics Trainee Anya Kordecki
Animation Illustrator Nina Chakrabarti
Animators DNEG
Prop Master Paul Aitken
Props Chargehand Trystan Howell
Standby Props Matthew Ireland
2nd Standby Props Lewis Reece
Set Dressers Dewi Thomas
John Thomas
Anwen Haf
Tom Major
Storeman Lucy Hammond
Workshop Manager Mark Hill
Workshop Assistant Chris Slocombe
Concept Artist Louis Knight
Graphic Designer György Simán
Head Modelmaker Lee Radford
Prop Fabrication Penny Howarth
Practical Electricians Matthew Dunford
Robert Hearne
Standby Carpenter Colm Garrett
Rigging Shadow Scaffolding
Standby Riggers Colin Toms
Scott Williams
Construction Manager Mark Painter
Construction Chargehands Dean Tucker
Joseph Painter
Carpenters Terry Horle Campbell Fraser
Dave Quinlan Kristian Tucker
Charlie Wright Chris Daniels
George Rees Jonathan Tylke
Dave Hobbs Stephen Crump
Junior Carpenter Matthew Painter
Construction Trainee Marcus Scholl
Construction Driver Darren Bousie
Construction Labourer Jason Tylke
HOD Painter Steve Fudge
Chargehand Painters Mark Reece
Lloyd Reece
Scenic Artists Chelsea Moore
Rachel Willsher
Assistant Costume Designer Simon Marks
Costume Supervisor Grace Brooks
Costume Assistants Andie Mear
Ian Fowler
Chloe Gauci
Costume Trainee Ashleigh Muza
Make-up Supervisor Emma Cowen
Make-up Artists Amy Riley
James Spinks
Junior Make-up Artist Hanna Lewis-Jones
Unit Medic Glyn Evans
Casting Associate Ri McDaid-Wren
Casting Assistant Ray Böhm
Business Affairs Elaine Evans
Kyle Parsons
Steve Robson
Talent Team Hannah Williams
Leanne Bowcott
Jeanette Sigsworth
Deborah Evans
Clare Baker
Assistant Editors David SJ Davies
Hayley Williams
VFX Editor Georgina Careless
Assistant VFX Editor Alastair Gray
Additional VFX BBC Wales Graphics
The 2D Workshop
Post Production Coordinator Liv Duffin
Sound Designer Harry Barnes
ADR Editor Matthew Cox
Dialogue Editor Darran Clement
Foley Bang Post Production
Online Editor Christine Kelly
Assistant Online Editor Luke Stanbury
Music Recorded by Olga FitzRoy
Music Mixed by Goetz Botzenhardt
Original Theme Music by Ron Grainer
Title Sequence & Additional VFX Ben Pickles
Series Script Editor Sheena Bucktowonsing
Script Editor Fiona McAllister
Series Editor Rebecca Trotman
Colourist Jateen Patel
Heads Of Production Radford Neville
Jacquie Glanville
Production Executive Tracie Simpson
Post Production Producer Ceres Doyle
Production Accountant Rhys Evans
Supervising Location Manager Iwan Roberts
Sound Recordist Deian Llŷr Humphreys
Dubbing Mixers Howard Bargroff
Kiran Marshall
Visual Effects DNEG
Special Effects REAL SFX
Prosthetic Maker Suzi Battersby
Casting Director Andy Pryor CDG
Music by Segun Akinola
Editor Agnieszka Liggett
Director Of Photography Ed Moore BSC
Production Designer Dafydd Shurmer
Costume Design & Prosthetic Design Ray Holman
Make-Up Designer Claire Pritchard-Jones
Line Producer Steffan Morris
Series Producer Nikki Wilson
Executive Producer for the BBC Ben Irving
10:49:01 NEXT TIME
THE DOCTOR
How about writing the most gruesome,
spine chilling ghost story of all time?
LORD BYRON
Tales of the dead.
BBC STUDIOS LOGO
10:49:15 Music out ‘M10 End Credits’
10:49:25 CUT TO BLACK